A Trip To The Movies: Review – “Mad Max: Fury Road 3D” 5.17.15

I’m not sure how many directors have gone on to make a reboot or remake of their original films. Then comes in writer/director George Miller, who, in 1979, made the original “Mad Max” (1979), and its subsequent sequels – 1981’s “Mad Max 2: The Road Warrior” and 1986’s “Mad Max Beyond Thunderdome” (1986). Here we are thirty years later, and Miller presents us with his 4th installment of the series. I have to admit, when I first heard about this film I was very reluctant, as I’m not usually one for remakes, redos, reboots, or whatever you want to call them. Then I found out that it was going to be helmed by the original writer/director of the series, and after seeing a trailer way back in January after “American Sniper” I thought to myself “wow, this looks like something that has some serious potential”. I also thought either they did a really good job with the trailer and that it looked like it could be the next great action movie, or it could wind up like something more akin to Miller’s 3rd installment – a film held sacred but not by anyone I know other than its deepest admires of the series – “Beyond Thunderdome”. Which after the groundbreaking innovative first and second installments within the series, frankly put, should never have been made. What also intrigued me which I don’t usually follow was the rumor mill from the set – stars Charlize Theron and Tom Hardy were at each others’ throats, Hardy was reportedly very difficult to work with on set (not the first time I’ve heard this), and that the filming process took much longer than usual for a film to complete. However, after having recently revisited the first and second installments in my anticipation for the newest, that and its great reception coming out of Cannes last week and glowing reviews that came in at the end of last week, all but pretty much sealed the deal for me. My anticipation for it plus the bar were set high.

“Mad Max: Fury Road” starts off with a bit of back story of shots in black and white, similar to how “The Road Warrior” did, providing us with some background into how the film’s setting of a future-esque Australian desert wasteland came to be. Also, similar to “The Road Warrior”, natural resources are scarce, particularly that of gasoline. A philanthropist by the name of “Immortan Joe” employs a young woman named Furiosa (played by Charlize Theron – more on her to come) to take an armored big rig truck across the barren Australian desert to collect gasoline. Meanwhile the newest and first Max in the quadrilogy to feature anyone other than Mel Gibson, played by the always wonderful Tom Hardy, is caught in middle of the whole thing and is taken prisoner by the “War Boys”, Joe’s army, and is imprisoned to act as a blood donor for one of the War Boys (Nicholas Hoult – the young boy, now obviously much older and almost unrecognizable, from 2002’s “About A Boy”). The action really picks up when Furiosa veers off course with Joe’s five wives on board, setting off a spectacular chase scene (or shall I say chase movie) with other contributing gangs following their trail. Max is eventually freed and steals Furiosa’s rig, but the truck is soon disabled and Max and Furiosa butt heads as to whether or not she is going to allow him to carry on with her and Joe’s 5 wives on board. Though Max proves himself as a force to be reckoned with, and the two rebels band together across an action packed, visually spectacular high-octane thrill ride, fighting of the legions upon legions of Joe’s army while doing so.

To start, I’ll say that this is maybe the best action movie that has come out post-2000 (sorry “The Bourne Trilogy”, this one ups you in every department). It starts off with an absolute chaotic and balls to the wall roller-coaster that grabs a hold of you from its first sequence and doesn’t let up until the end credits role. It’s the greatest example I’ve seen so far of a film’s original creator, taking their original concept and story, and redoing it, the way it should have been done to begin with, for more contemporary audiences who may or may not be familiar with the original trilogy. I haven’t seen a movie with this much energy, this much velocity, and this much non-stop action since Gareth Evans’ “The Raid: Redemption” (2011), a film until seeing this film I would have labeled the best action movie of this century. But this movie goes deeper in that in almost every angle from an action film standpoint. I couldn’t help but think of Steven Spielberg’s “Saving Private Ryan” (1998), and the opening sequence where they storm the beaches of Normandy. Now imagine that level of visceral action and continue it throughout an entire duration of a 2 hour film. It’s a hyperbolic comparison I know. But one that seemed to enter my brain throughout. The film is also perfectly cast – with Hardy playing the epitomized loner. A man whose actions clearly speak louder than his words. Then there’s Theron in a role that puts her in the same echelon as say someone like Sigourney Weaver in the Alien quadrilogy (1979-1992). Bringing a nice blend of post fem attitude along with its several other sub-genres. Resembling something of that of a post-feminist action film, punk-western (and I really have to emphasize the futuristic punk look and vibe of the film), and post-apocalyptic road-rage chase-thriller. Lastly, I should point out its dazzling use of 3D in a film that’s a breathtaking visual splendor, with every burn, crash, and explosions coming off the screen at you. In fact, it’s the best use of the format that I’ve seen since Alfonso Cuaron’s “Gravity (2013) and really deserves to be seen as such, as I can’t imagine it being half the immersive experience it would had I of seen it otherwise. This is about as high-octane and thrilling of an action movie you’re bound to see all year, which also happens to be the very best in what the action genre has produced for us in as far back as I can remember. And one can only imagine that writer/director George Miller is sitting back and marveling at his creation in what can undoubtedly be considered the best in the series of “Mad Max” films to date.

in 3D [A-]

in 2D or any other format you choose to see it in other than the following [>B+]

A Trip To The Movies – Review: ‘Birdman’ or (The Unexpected Virtue Of Ignorance) 11.15.16

Alejandro Gonzalez Innaritu is perhaps maybe the single most influential filmmaker on my becoming a film student and how I view film. More than any other filmmaker I’ve written about on this blog up to this point. I didn’t really get into looking at film as an art form until I was around 18 years old, in 1999, when I took a film class my senior year in high school that was being offered for the first time. I remember vividly the teacher telling us that first day that we needed to be prepared to “never look at film the same way again”. It was that same year I really starting delving into films by directors who would go on to become some of my favorites – people like Stanley Kubrick, David Lynch, and Paul Thomas Anderson. To name just a few. Then, a year after, just when I was really starting to formulate a film vocabulary and started developing a taste in what I liked or didn’t like, a film came out by a young director hailing from Mexico City, Mexico named Alejandro Gonzalez Innaritu called “Amores Perros” (2000). It completely took me by storm and seemed to encapsulate everything I loved about the medium that I had learned about up to that point. It had an multi-thread, interwoven script about 3 well developed central characters, all of whom were interconnected as if by a mere act of chance. It brimmed with energy and was explosively violent shot with an assured sense of immediacy at times (just re-watch the opening 10 minutes and prepare to have your jaw gape) while switching gears and becoming incredibly patient at others. But most importantly, and what Innaritu went on to continue to explore in a lot of his work to come following, it focused on people facing life’s ultimate challenges (2003’s “21 Grams” and 2010’s “Biutiful”) from all walks of life all over the world (2006’s “Babel”). And in by watching and re watching those films it’s almost as if I started to develop my own sense of “cultural language” in film. Because Innaritu was and is one of the first international/foreign filmmakers to explore universal themes that affect almost everybody on a global scale. So it didn’t matter if his stories were set in Mexico, the US, Morocco, Japan, or Spain. Each film had an undeniably human element to them which I really connected to and identified with. Though many Innaritu detractors complained about his films being too depressing, too dark, too grim, and feeling all a bit too similar, which I guess I always felt like I could see but personally looked at his films as something deeper and uniquely different from one another. Then enter 2012-2013, and reports started to come in from film circles that Innaritu’s next project was going to be something that fell more into the comedic realm. A total 180 from his trademark stark and bleak dramas. One that would be set in New York City and star Michael Keaton, an actor who I had almost practically forgotten about since his heyday in the 1980’s where he played Batman in the Tim Burton version (1988) and who I couldn’t recall having seen in anything since Quentin Tarantino’s “Jackie Brown” (1997). Though as was with any Innaritu film the level of excitement and anticipation for his next release was unprecedented.

The film opens to us taking a look at a levitating man (played by Michael Keaton), who seems to be preoccupied in some form of meditation. He sits in front of a mirror in a dressing room and has one of those internal dialogue monologues that give us some back story about who he is. A sort of has been once famous movie actor in a trilogy of films called “Birdman”. Soon after he is interrupted by his lawyer/agent (Zach Galifianakis) that his scene in his writing, directing, and acting in play is about to start, and we’re then introduced to a few of his actors (one of whom is played by Naomi Watts) as well as his freshly out of a stint in rehab daughter played by Emma Stone. An unexpected accident occurs, and with only 3 nights left until opening night of the play, he is forced to find a stand in. Enter Edward Norton’s character, who acts as said stand in, and who Galifianakis’ agent promises will double the size of his audience. Which his fledging play seemingly needs. We also meet his current lover (played by the ravishing Andrea Riseborough) and ex-wife (Amy Ryan). Can this be the comeback play his career so desperately needs? Or has his time come and gone and his resurgence as an actor be a complete and total failure?

“Birdman” winds up being a cinematic and theatre lover’s wet dream (as I so eloquently put it as the house lights in the theater and credits started rolling). It has more energy, more snap, crackle, pop, bang, and more ingenious elements encompassing it cinematically than any other film I’ve seen this year. It’s director Innaritu’s masterpiece and has some of the most confidently assured and inspiring camera work that I’ve seen from any filmmaker in years. The way in which he zooms, zips, and swirls around every corridor and crevice of the theatre in which 95% of the film takes place in, is nothing short of a revolutionary feat. He captures it with the utmost authenticity depicting what the theatre scene is like through filming it with a mightily and very impressively minimal amount of takes and edits which makes the entire film feel like one long tracking shot. Which is a true testament to the art and craft of theatre. As anybody who is versed in the both the theatre and feature film medium knows that the major difference between the two forms understands that in the theatre there is no room for mistakes. Which comes across in the film and gives it a sense of urgency like the theatre which is executed perfectly on screen. Augmented by the dazzling cinematography by Emmanuel Luzbecki, fresh off his Oscar win from last year’s stunning “Gravity”. The whole affair is also brought to life by the incredible jazzy sounding and bopping score by Antonio Sanchez. Never mind the acting and performances, all of which are exemplary, but particularly that of Michael Keaton, which is sure to garner him an Oscar nomination for Best Actor, and possibly put him in the frontrunner position to win. His borderline real life self-referential bravura performance proves to us all once again that actors don’t ever necessarily lose their gift, they just become older and are replaced by younger talent making it harder and harder to find a great script that suits them. And this character fits Keaton perfectly like a glove. Edward Norton is almost equally as impressive as a narcissistic, vain, and completely full of himself actor, also who’s aging, and who also seems to know underlying that his time is running out. Expect some awards buzz and a Best Supporting Actor nomination for his work here as well as he is nothing short of dynamite. I also have a newfound deep respect and admiration for Emma Stone, perfectly cast here as Keaton’s post-rehab daughter/assistant, who really shines and proves why she’s considered to be such a talented and sought after young actress. Everybody in this rich ensemble piece really seems to bring the razor sharp screenplay by Innaritu and his writing team come to life. I could go on…and on…and on to talk about it’s satirical comment on the nature of celebrity and mental illness, dark comedic undertones, rich underlying symbolism, and ambiguous ending. But I’m afraid this would turn into something that looked more like a thesis than a film review. Alejandro Gonzalez Innaritu – you have finally made your masterpiece at 51 years old and 14 years into your career. With a film that should garner Oscar nominations for Best Picture, Director (Innaritu), Actor (Keaton), Supporting Actor (Norton), Cinematography (Luzbecki), Original Score/Screenplay, and Editing. This is hands down one of if not the best film of 2014. And a landmark achievement for both director Alejandro Gonzalez Innaritu and star Michael Keaton. In a film that’s sure to explode over the next few months and catapult both of their careers into exciting new territory.

[A]